Pulling up to my house in their touring van with nothing but smiles, Wild Adriatic took me in for a day in the life in Upstate New York. We headed up the Northway to a Red Robin in Clifton Park to enjoy lunch and talk about their tour that just finished up. A wild week in Texas, New Orleans, North Carolina, and Pennsylvania had just ended, and Mateo Vosganian, Rich Derbyshine, and Travis Gray had stories to share from the road. From a night or two of smaller crowds to sing-a-longs in the car to a stop off in Maryland at an open mic that proved to be a great night of music for the band, Wild Adriatic had plenty of stories to tell over burgers and fries.
Pulling into Charles R. Wood Festival Space for Rocktoberfest in Lake George, the sounds of AM Bodega could be heard over the speakers. As the band unloaded the van and set up shop, AM Bodega were playing a solid set of music including some nice jams and a good take on Led Zeppelin’s “No Quarter”. When it was time for Wild Adriatic to take the stage, the audience, although not large, all came close to the stage to watch the band take over for an hour and a half. Despite the tour and the long drives, the bands energy on stage was tremendous. Travis’s voice was in fine form, belting out his signatures wails and hitting every note. Rich was bouncing and dancing all around the stage non-stop throughout the set. Finally Mateo was hitting his drums with all his might and even at times was shaking the stage he was going so hard.
The set saw more covers than I am used to seeing from the band, but since they had a long set to play, they delved deep into their repertoire and busted out “Mary Jane’s Last Dance” by Tom Petty and “Get Lucky” by Daft Punk. Both were done beautifully, as was expected when upon the opening riffs. When the three of them decided to play covers, they do so as close to the original as they can. Travis was in a talkative mood as well from the stage, happy to be home seeing familiar faces after being on tour. The band was also very comfortable with one another on stage letting themselves get lost in a ten minute rendition of “Mess Around”. Having been touring so extensively lately the band has acquired this jamming skill to add to their live show and it suits them great. Locking into the song, they moved through three separate phases in their jam and brought it all back home, returning to the chorus of the song to close out the set.
After the set and packing up their gear, Wild Adriatic hung out, signed merchandise and talked with fans. As Black Mountain Symphony started up their country-rock, the van was finally packed up and we drove back down the Northway to Albany for the night show and tour capper at The Hollow Bar. The night’s setlist was written and the radio was on loud as we headed down the road listening to Joe Walsh, Mountain, and Led Zeppelin. Another load in and another soundcheck later, everyone was hanging in the basement of The Hollow when Titanics came down to hang out as well after finishing up their own soundcheck. Soon Party Boat was also down there waiting for the show to start, and three bands from Upstate New York were all trading touring stories and having a good time. Another meal was eaten at The Hollow with more stories from the road before Party Boat started the show. Their garage and surf infused rock was a great start to the evening. The laid back vibe won the crowd over with jokes and new music from the Albany band and are definitely worth catching the next time they are on the bill at a show.
Titanics came on next after a short break and the duo played a great set of indie-rock music. The music turned spacey at times, which was great to see. The blend of loops, keys, guitar, and vocals had the crowd take notice to not sleep on them either. With new music just out recently, these guys are really starting to become a local Albany fixture with bigger things to come. Taking the stage for the second time of the day, Wild Adriatic stormed on with “Lonely” and the crowd responded with dancing and chanting and singing the song right back at them. Some more left field covers for the band happened in The Darkness’s “I Believe in a Thing Called Love” and MGMT’s “Electric Feel”, and both went over great with the crowd. I was amazed at how much energy Travis, Mateo, and Rich all still had from earlier in the day. Everything sounded and looked as if it was their first performance of the day. Wild Adriatic are road warriors and just want to be on stage all of the time. The packed house at The Hollow gave just enough room for everyone to dance and have a good time. There was some more jamming from the band as well, showing the Albany crowd that touring gets a band tighter and lets the songs shine even more than you remember from the last time you saw them.
Closing down the tour with Led Zeppelin’s “Rock And Roll” was a perfect tour-capper. Smiles, hugs, and drinks were shared among all the familiar local faces after the show was over. Wild Adriatic loves to remind audiences they are from Upstate New York and like to keep everything done with the “family” they have built up here. It was no coincidence that the last shows they are playing before heading to Europe are in the Capital Region of New York. The band has a lot to look forward to coming up really soon, but they also like to take a second and enjoy the moment. The Hollow provided them with a home town show to celebrate how great this year has been to them and they will be playing one more night at the venue before going abroad. That night is Halloween evening and the band is planning some great things for night. Be sure to get there for the fun that is going to take place and wish them safe travels before they head onto a plane across the Atlantic to conquer some new territory.
OK Go, the American alternative rock group, performed in Upstate New York on Tuesday Oct 14th in support of their new album, Hungry Ghosts. Upstate Concert Hall was their only stop in New York and was lucky enough to host their unofficial release party as their new album launched that same day. The Capital District crowd was eager to hear the alternative rock pop group as cheers started with the lights dimming on two huge screens on stage. Short video clips of famous pop culture scenes were cast on the screens with the only words being said: ‘OK’, ‘Go’ and the musicians names, frontman and guitarist Damian Kulash, bassist Tim Nordwind, drummer Dan Konopka and keyboardist/guitarist Andy Ross.
The quartet started the night with “Upside Down & Inside Out”, a slamming song that channels everyone’s inner Miley Cyrus with screaming lyrics “Can’t stop, won’t stop” with a massive rainstorm of confetti and smoke. Tuning into their classic surfer punk song, “You’re So Damn Hot” before smashing into “Writings on the Wall”, an upbeat groove with a build up of explosive laser sounds and steady vocals. OK Go celebrated hosts WEQX on their 30th anniversary and gave thanks by performing the electrifying cosmic funky song “I Won’t Let You Down” which can often be heard on their station. New song, “Obsession”, is more of a dark pop with hushed vocals, deep bass and lighthearted cowbell. The bright and colorful melody of “This Too Shall Pass” caused a crowd singalong reminding those of their past performance at Tulip Fest 2010.
“This next song requires my phone cause we are nerds like that” Kulash said as he began to record the crowds various orchestrated stomps and claps to create a unique beat box breakdown. OK Go and guests didn’t prepare to blow out the PA system but that didn’t stop Kulash from diving into the middle of the crowd with his acoustic guitar for a cutesy ballad surrounded by the glow of cell phones. With everything back up and running, OK Go wasted no time gearing up the crowd again with “Get Over It” and “Skyscraper”. The set ended with sincere harmonies and classic rock guitar solos from “Turn Up The Radio”. The crowd demanded more and OK Go quickly returned for a humorous acoustic performance of “The Confrontation” from Les Miserables. The night ended with their original hit and climactic “Here We Go Again”, aka ‘The Treadmill Song’ as fans were invited on stage for a organized mess of a closer.
An OK Go show is just as entertaining and unpredictable as their music videos if not more. My new dream job is to be the person controlling the nonstop confetti storm throughout the entire night, which is also biodegradable. These musicians are scientists of sound, using every physical object to create original and fresh music. They are very personable, taking breaks between each song to tell jokes, stories, beard advice, pose for pictures, etc… OK Go put a tremendous amount of effort into their show performances with big smiles on their faces. You can stream their new album, Hungry Ghosts for free on YouTube, Spotify or Soundcloud. CD’s are $13 and vinyl is $25 on their website, with instant MP3 downloads included.
Check out OK Go’s latest music video, “The Writings On The Wall” from their new album, Hungry Ghosts.
Every rocker/ninja’s favorite band, Kung Fu, kicks off its fall tour this weekend and Upstate New York gets two of the first three shows.
The Fu will provide musical therapy to Baltimore, whose Orioles just fell a step short of the World Series, on Thursday night. Friday, Kung Fu brings their high-octane funk fusion to Syracuse’s Westcott Theater before wrapping up the weekend at The Hollow in Albany on Saturday.
Like every great funk outfit, the band has a bassist, Chris DeAngelis, who will send vibrations through your bones and shake up your soul. Each show gets more than slightly Stoop-ed as Todd Stoops handles the keys and Robert Somerville will be center stage crushing the tenor sax. Adrian Tramontano is absurdly relentless on the drums and Tim Palmieri, who just added a newborn ninja to his family last week, rounds out the band on guitar.
If you’re not following Kung Fu on Facebook yet, you’re missing out. Earlier this week, the band offered free tickets and 10% commission to volunteers for manning its merch booth all weekend. Wednesday, Stoops took to the social media site to give away free tickets to anyone who asked — no contest or duties involved.
For more information or to check out Kung Fu’s new album, Tsar Bomba, visit the band’s website.
Tickets to Syracuse’s show can be purchased here. Click here to purchase Albany tickets.
And in case you can’t catch them this weekend in Syracuse or Albany, the band is heading to Western New York later in the tour for a stop in Buffalo on Nov. 13. Click here for tickets to their show at The Waiting Room.
Southern rockers Drive By Truckers will perform at The Egg Performing Arts Center on Sunday, October 19th at 7:30 PM as part of the American Roots & Branches concert series.
Drive by Truckers boast a mix of Southern pride, history, folklore, politics, and character studies and have quickly risen to become one of today foremost alternative country-rock bands. This will be their debut performance at The Egg in support of their new, critically acclaimed recording English Oceans. Read a review of Drive by Truckers’ latest album English Oceans by Garrett K. Woodward.
Tickets are $29.50 and are available at The Egg Box Office at the Empire State Plaza, by telephone – 518-473-1845 – or online.
Drive by Truckers start things off in NYC at the famous Beacon Theater on Friday, then head to the Electric Factory in Philadelphia this Saturday before making their way north to the Capital Region. For the full tour schedule, check out the bands website.
Cut Chemist, founder of Jurassic 5 and helped to form the Grammy winning Ozomatli, with his 7″ size record partner Josh “DJ Shadow” Davis have added dates to their current “Renegades of Rhythm” tour. This “vinyl-only” tour honoring Afrika Bambaataa’s influence on hip-hop’s beginnings is spreading to new markets through November in the U.S. and Canada. The big news is the DJs are using Bambaataa’a actual vinyl collection for this tour.
Their performances are garnering critical acclaim, especially the two sold-out tour openers at Irving Plaza in NYC with Bambaataa in the audience while they spun beats from his legendary vinyl collection. Rolling Stone recently gave high praise for the turntablists, saying “Deep into their September 4th set at New York’s Irving Plaza, as DJ Shadow bent over his spread of turntables, cueing the next sequence of beats, his partner in spin, Cut Chemist, gingerly lifted a piece of 12-inch vinyl from one of his decks and held it aloft, like a round, black equivalent of the Ten Commandments. He had, in fact, just played a religious object.”
The list of new dates is expansive and includes stops at The Town Ballroom, Buffalo on 11/11 and The Westcott Theater in Syracuse on 11/10. Check the deets and beats at their websites, DJ Shadow and Cut Chemist. There is a ton of info available on each, both historical and the story of Bambaataa’s influence to them both as it’s being told through this tour.
Nov. 6 – Pawtucket, R.I. – The Met
Nov. 8 – Montreal, Quebec – Corona
Nov. 10 – Syracuse, N.Y. – The Westcott Theater
Nov. 11 – Buffalo, N.Y. – Town Ballroom
Nov. 14 – Pittsburgh, Pa. – Mr. Smalls Theatre
Nov. 15 – Charlottesville, Va. – Jefferson Theater
Nov. 17 – Athens, Ga. – Georgia Theatre
Nov. 20 – Winnipeg, Manitoba – Garrick Centre
Nov. 21 – Saskatoon, Saskatchewan – O’Brien’s Event Centre
Nov. 22 – Edmonton, Alberta – Encore at WEM
Nov. 23 – Calgary, Alberta – Flames Central
Nov. 25 – Oakland, Calif. – The Fox
One of the most legendary musicians and intense concerts to grace an Upstate New York stage took place in the fall of 1978 at the Mid-Hudson Center in Poughkeepsie. On September 21, 1978 Frank Zappa and his band appeared on stage for an extended fun and filthy evening of multifarious musical excursions. The circulating recording is a warm well-balanced line tape available through the efforts of an enterprising taper allowed to plug his rig into the soundboard.
The resulting document captures Zappa’s 1978 big touring band featuring, Zappa, drummer Vinnie Colaiuta, Arthur Barrow on bass, Ed Mann on percussion, Tommy Mars on Keyboards, Denny Walley on second guitar, Peter Wolf on second keyboards and Ike Willis on guitar and vocals. The 3,000 seat venue in the midst of the Hudson valley would bear witness to a diverse, virtuosic and musically offensive performance that is still reflected on and talked about by locals and hardcore Zappa fans alike.
The existing tape cuts in with the show already in progress midway through ‘The Deathless Horsie”. The ambient instrumental jam offers a moody warm up for the band as well as an opportunity for Zappa to introduce the band and greet the assembled crowd. Breathlessly the band enters a song that ‘doesn’t rock at all,’ “Dancin Fool”. The percussive ‘disco’ flavored track warms the crowd with an addictive groove and intense show opening breakdowns.
Stage favorite “Easy Meat” from Zappa’s Tinsletown Rebellion follows and spreads a horny groove down in which Zappa slips in a lubricated and penetrating solo display. Segueing deftly into “Honey Don’t You Want a Man like Me” things get sufficiently strange while riding the quirky edge of progressive arrangement.Continuing to move forward into the show without respite, “Keep It Greasy’ continues the musical innuendo containing a kinetic and slick groove orchestrated by Zappa’s numerous compadres.
Sufficiently warmed up, the sets first cool down period comes with the sideways soul and religious condemnation of ‘The Meek Shall Inherit Nothing’. Group vocals, slide guitar and honky-tonk piano support the sarcastic glimpse of religious zealots.
This featured set not only spotlights Zappa’s diverse musical arrangements but his increasingly ‘shocking’ and unabashed lyrical content. The collaboration of venue, era, set list and band, make this bootleg capture a must for any Zappa fan that was unaware of the recordings existence. “City of Tiny Lites” highlights some of the most aggressive soloing of the evening unfortunately cutting out before its conclusion and cutting in midway into the following “Pound for Pound”. Zappa unleashes shaded and dark soloing that eventually dissipates into a sweet guitar and keyboard dual melody quote that rolls together like a sticky bun in “City”. While the following instrumental, “A Pound For A Brown” expresses a jazzy sensibility and a thick spacey synth breakdown, showcasing the groups many improvisational talents.
Next comes one of Zappa’s most well-known tracks, “Bobby Brown” a single release in Europe, but not as well-known in the States due to the edgy sexual content. The main character of the song struggles with their sexual identity, played out through the lyrical playfulness of Zappa. A fantastic and humorous version of the melodically solid track is featured on this recording, a high point of the set. “Conehead” as well a highlight of this early segment of the concert emerges from “Bobby Brown” with a pointed and funky groove. Zappa takes a phased and patient solo break that contains some of his finest playing of the evening thus far. Crisp sustains and lightning fast riffing highlight the central part of this jam. When “Conehead” fades into dynamic rhythmic support, Zappa then introduces “something weird” taking a unique trip with the twofer of “Mo’s Vacation” and “Black Page #2”.
The rare “Mo’s Vacation” flies the friendly skies with syncopated bells, jumpy percussion and variegated statements that amazingly the band required no musical notation to play. The instrumental segues into “Black Page #2” another complicated and stratified musical arrangement that lends witness to the masterful musical mind of Frank Zappa at work. This particular movement embarrasses Zappa’s contemporaries due to its illustrating multiple and diverse levels of melodic expression and mastery of instruments. The song rises and falls over rocky waves of inspiration, jaw dropping in its crisp execution.
As “Black Page #2” fades into darkness Zappa begins a rap about the ‘preposterousness of rock and roll’ and asks the crowd if ‘they feel it’ also. Zappa then takes some body shots at Peter Frampton and mentions how a panty-sniffing Wagner composed some of his works. The slow and sure “I Have Been in You” begins and is beautifully sung/spoken in Zappa’s greatest dry, one-eyed wink, vocal attack. ‘I Have Been In You’ is a classic Zappa segment and one continuous laugh and highlight commentary on the state of rock and roll reality.
“Flakes” drops out of the sky suddenly, keeping its promises through a plethora of funky and complex riffs. The song pulses through multiple changes and commentaries on those certain people who cannot hold up their end of the deal. A solid version of “Magic Finger’s” rubs all the right spots while emerging from “Flakes” in a series of cascading licks while building the set to a ticklish peak.
As if the preceding display of music was not enough Zappa and band construct a medley of the “Yellow Snow” suite, containing the opening four tracks from Zappa’s 1974 Apostrophe LP. The crowd’s pleasure can be felt on the recording as the band pops into the shoulder swiveling “Don’t Eat the Yellow Snow”. The suite continues with carnival blues of “Nanook Rubs It,” “St. Alfonzo’s Pancake Breakfast,” “Father Oblivion” and “Rollo”. The aforementioned narrative is musically challenging, complex, shockingly funny and another piece in the long line of highlights from this performance.
Zappa introduces the players as “Rolo” ends, concluding the main part of the set in animated fashion. The crowd pleads for more, their enthusiasm apparent on the recording. Zappa states that this will not be your typical encore and tells everyone to sit down for another ‘tiny show’.
Zappa then digs into his “Mothers of Invention” catalog for an expansive rendition of “Little House I Used to Live In” from 1971’s Burnt Weenie Sandwich. A moody version, with room left for all band members to receive a spotlight segment. This is not your typical encore, but a mind expanding and twisted compositional display.
The show puffs out its chest for the next series of songs that not only pay witness to Zappa’s extreme abilities and guitar prowess but conclude the show in an awe-inspiring fashion. The aggressive pulse of “Tell Me You Love Me” “Yo Mama” and “Black Napkins” allow the Zappa orchestra to let it go. “Yo Mama” is the showcase for Zappa to deconstruct and build again the songs internal workings through his fretboard. The air gets thick, the music tense and Zappa’s guitar work dense as the arrangement allows for ample exploration. Guitar aficionado’s alert, the central core of “Yo Mama” is a clinic, an organic and tangible aural event.
The encore and performance concludes with ‘Black Napkins’ originally from Zappa’s 1976 record Zoot Allures. Similar to the preceding ‘Yo Mama’ this track allows Zappa to disseminate his guitar work in another context. The smoldering R and B groove ignites with Zappa’s round quivering notes, leaving only metallic shadow remains on the constructed musical bed. A series of punctuated ‘thank you’s’, and the show is over.
Zappa’s 1978 visit to Poughkeepsie, NY left an indelible mark on Zappa’s touring history, fans, and collectors as well the community at large. A muscular performance and collection of songs that through the foresight of tapers and of Zappa’s crew is now immortalized for future fans and musicians to enjoy.
Pink Talking Fish, a hybrid of jamband members performing music from Pink Floyd, Talking Heads and Phish, will debut a new concept show in New York City on Saturday, October 18 at The Cutting Room. The band will perform the classic Pink Floyd album Dark Side Of The Moon in its entirety, while intertwining songs from Phish and The Talking Heads throughout the album tracks.
In addition to a a Dark Side of the Moon set, an extended encore of classic Pink Talking Fish combinations will be performed amid a light show and special guest appearances. Commemorative poster art by Stephen Gunn will be available, with 50 of the limited edition of 100 available to those who purchase advance tickets. Show starts at 10:30 pm, 21+ and tickets are $12 in advance, $15 day of show.
We will be giving away Two Tickets to this Pink Talking Fish show – all you have to do is share this link on Facebook or Twitter, or comment below with a combination of Talking Heads, Pink Floyd, Phish songs that you would love to see performed by Pink Talking Fish! Pink Talking Fish on Twitter | Facebook | Instagram
If you are headed to Las Vegas this Halloween, LIGHT Nightclub at Mandalay Bay Resort And Casino, has an impressive 1-2 punch of DJs for this Halloween celebration dubbed #LIGHTMARE The Sequel. On October 31, Nicky Romero spins explosive sets while on November 1, Krewella brings her electrofunk to the nightclub, the first developed by the creative minds behind Cirque du Soleil.
Nicky Romerowill treat the crowd to chart-topping tracks “Symphonica,” his #1 U.K. hit “I Could Be The One” with Avicii and “Legacy,” the highly sought-after collaboration with Krewella among others. Krewella, a Chicago-bred duo featuring sisters Yasmine and Jahan Yousaf have released their debut album GET WET last year which soared to the Top 10 on Billboard’s “Top 200 Albums” chart. Expect peaks upon peaks when the two sisters bring their breakout hits “Alive,” “Live for the Night,”“Killin’ It” and “Enjoy The Ride” among others.
Last year’s LIGHTMARE Halloween party featured terrifying visuals and video content, costumes and decor created by Cirque Du Soleil, and one-of-a-kind Halloween performances from world-class DJ talent including Alesso, Sebastian Ingrosso and Nicky Romero, among others. This year LIGHT’s wildly popular Halloween party returns bigger and better with even more surprises.
In addition to having two world-class DJs spin on Halloween weekend, LIGHT’s #EntertheLightmare contest (running through October 21) gives party-goers the chance to win VIP tickets and a weekend trip for two to Vegas by tagging themselves in Halloween themed photos on social media with the hashtag #EntertheLightmare. LIGHT will choose daily winners to be awarded two VIP tickets to the event and one winner to be awarded a trip for two to Vegas for the weekend. Using all the submissions, LIGHT is going to build a mosaic skull collage which will be hosted on their site.
Pick up tickets for Nicky Romero and Krewella to ensure access to this one of a kind event.
Sometimes you just know you are in the presence of greatness. I recently experienced this moment watching Kenny Wayne Shepherd and his band perform September 4, 2014 at the Turning Stone Showroom in Verona, N.Y . It was one of those moments you just automatically realize you’re in the presence of a legend; a history maker; a significant part of a musical phenomenon. His ability to entrance his audiences by drawing them in to each and every note and keep them on the edge of their seats is mesmerizing. Now add to the mix a collection of the most talented musicians of the same caliber, and you have the perfect storm.
Kenny Wayne Shepherd – Turning Stone
I had an opportunity prior to the show to speak with Kenny and ask him a few questions. A little tongue-tied and star struck, I found him kind, patient, accommodating, a true professional, and one of nicest and most humble individuals I’ve met. He made me feel right at ease immediately as we spoke about his career, his family, and his passion for music and cars.
Kathy Stockbridge – NYS Music: Hi Kenny…thank you so much for agreeing to speak with NYS Music. We really appreciate it. We’re extremely excited about you coming to the Turning Stone, and doing the show for us here in Central NY. I have to say I’m kinda late to the party as I just discovered you one day when I was watching tv. I believe it was a documentary on Palladia or AXS, and I must say I was amazed. You blew me away. So I am really excited to be covering the show tonight, and bringing the review and interview to our readers at NYS Music. Thank you so much.
….after discovering you, I was super impressed to learn that you are completely self-taught. Talk to me a little about how that came about.
Kenny Wayne Shepherd: Well I just play by ear. I don’t read music. I learned to play songs by sounding songs out literally one note at a time, and piecing these songs together literally from the first note to the last note, which was a tedious process.
KS: Yes, I imagine it was. When I read about the process…you listened to the music, and then turned off the tape and learned the notes…getting that one down pat and then turning on the tape to listen and learn the next one.. it gives me hope I will be able to pick up an instrument and teach myself how to play one day, that it can be done. Very impressive.
So after teaching yourself to do that, at the age of 13 you were discovered and got your first record deal? Talk to me a little about that.
KWS: When I when I was thirteen a friend of ours Bill Fordam, he was a record producer, saw me play down in New Orleans when I was a kid. He asked my dad have you ever thought about taking this kid into the studio and making a record? So that was when I was thirteen. And when I was 14, I actually went in and did my first demo recording which Bill produced. Then when I was 15 I put my band together and started doing live shows. Then when I was 16 I actually signed my record deal.
KS: You grew up in Lousiana, which is the heart and soul of jazz and blues and R&B. How much of that influenced what you play today and what you like to play?
KWS: I think a lot of it. I mean, I was exposed to all kinds of music because my dad was in radio, so he played a lot music on the radio, and we went to a lot of concerts. And being that I’m from Shreevport, its like is a perfect location. Shreevport has a rich musical heritage itself, but we would make road trips all the time and drive down to New Orleans to see live music; or go to Dallas, Texas and see live music; or Austin, Texas; or Memphis, Tennessee. We’re surrounded by all these music cities, in addition to all the great music being generated in my hometown as well. I had a pretty rich childhood.
KS: Do you find yourself being drawn to that genre, that type of music, or do you like to mix in different genres to make your own sound?
KWS: Well, my first real love musically is blues and traditional blues music, and that’s always the foundation of everything I create. But sometimes we’ll push our music into different directions mixing in rock. Makes it a little bit more contemporary and opens up more possiblities.
KS: Now you’ve collaborated with some of the most influential blues and r&b musicians in the world, and had the opportunity to open for huge name bands such as Aerosmith, Bob Dylon, Rolling Stones, I mean HUGE acts. ..What makes them stand out…the ones you’ve collaborated with, the ones you want to collaborate with in the future..what are you looking for this point and time in your career?
KWS: Well I don’t know. I’ve really gotten to play with just about everybody I could think I think I ever could have wanted to play with. So at this point I’m not really sitting around with a pen and paper thinking, hmm… who else I can go play with..Really Im just focusing on my own music and challenging myself musically every time we make a record, and every time we walk out on stage and perform no matter who we are playing with.
KS: So what is your creative process like right now…do you like to sit down and jam with the band, or do you put something together in your head and then go and record it, or how do you..?
KWS: All of the above…when we go and do sound checks every day before the shows, we start jamming on something totally spontaneous and that always helps come up with ideas. But then other times, it’s just me sitting at home with a guitar and I usually when I pick up a guitar more than five minutes, then usually something starts coming out, something new. Then what’s great is having the technology we have today..with my phone I have the ability to record my ideas on the spot so I don’t forget them. Since I don’t’ read music, it’s not like I can write them down on paper. So it’s a big help. But usually it generally starts with music, then lyrics, then vocals and such and matter of things like that come after.
KS: Well I read that this new music you are touring with, the Going Home album, was recorded in between gigs on an eleven day stint at home..how is this different from some of your previous albums, and what were you trying to achieve with this new album?
KWS: Well this album is really us paying tribute and showing our respect and appreciation for artists in particular that have influenced me over the years and their music. So it’s us doing our versions of their songs, and its kinda like the soundtrack of my childhood. These are all songs that I grew up listening to as a kid, that I cut my teeth learing how to play guitar listening to these songs. So it was a lot of fun. We did this album all live in the studio. We recorded it the old-fashioned way on two-inch tape, and we didn’t use any modern trickery like auto tune or anything like that. It’s really an honest album, recorded in the studio..the original recordings, and I think the end result is a really fun record to listen to. And it’s certainly going over well in the live shows.
KS: I am really looking forward to hearing it live. Now you have a really great band behind you, just tons and tons of talent up on that stage. How did you guys all come together? Did you collect them as you went along? Did you just find each other? You’ve been together now for a while haven’t you?
KWS: Well every situation is unique you know. I had a different guy sing lead vocals on my first album, and on the second album is when Noah and I met and he’s been in the band now seventeen years. Chris I met when I was 15 or 16 the first time I played down in Austin, Texas at Antones. I opened for this man, Bill Carter, who wrote a couple Stevie Ray Vaughn songs, and Chris was playing with him that night. That was the first time I met Chris. We became friends, and he played on my first record with me, and has played on almost every record since. He’s been in the touring band for 7 or 8 years now full-time which is great. And Riley? Chris recommended Riley, so that’s how we met Riley. And Tony? I met Tony because Tony was actually working at Fender Musical Instruments. He was an artist representative over there. He decided he wanted to get back into playing music so he joined the band.
KS: You have been credited in bringing back a new generation into jazz and blues. As a child growing up in an area where it was abundant, what appealed to you about that genre? How do you bring the audiences now that appeals to them today?
KWS: I think for me as a kid I identified with music because music is about as real as it gets. Straight from the heart. And when people play music from the heart, it’s like the most organic place it can happen. Age doesn’t play a factor. As far as our music, I think we have a fresh take on the music just by the way we interpret it. I think that people dig it.
KS: I think so too. Personally I think this generation is more open to a variety of music. More so than previous generations. I have a son that is 16, and he and his friends listen to anything and everything from early Beatles to rap and hip hop. I find I appreciate their openness to listen to all types of music, especially blues and jazz.
Youre a family man as well How do you do with juggling the touring , the recording, the family and the kids. How have you worked this part out?
KWS: That’s the challenge for me now. Tying to find the right balance. I have a commitment to my fans, and I certainly have a commitment to my family; and trying to be able to fulfill my obligations to both and never leave one or the other neglected. Sometimes my family will come out and travel with me on the road when it’s possible. Some of my kids are in school, so some times that’s not possible. It’s really just trying to look ahead when we book the tours, and scheduling my work, and make sure there’s also consideration taken into account for the family so that I can be there for them. And trying to not be gone too much.
KS: Do your children show any signs of being musically inclined?
KWS: Oh yeah!
KS: Naturally talented huh?
KWS: It’s definitely in their blood. But it’s not anything I’m trying to push or really even encouraged that much as no one encouraged me to do it. I did it. I was drawn to it, and I did it because I wanted to. And I did it because I loved to do it. And I feel like if they want to, they’ll find their way.
KS: I have to say most musicians I have spoken to say it’s something they knew they would always do…there was never a back up plan. It was just something they always knew they wanted to do. And it just happened.
Is there anything new on the horizon we should be looking forward to here?
KWS: Yah, at the end of this year I’ll be going into the studio again with another band that I have, called The Rides. Stephen Stills and Barry Goldberg and I put a band together last year and put a record out under the name of The Rides. We’ll be going into the studio this winter, and doing a second album that will come out next year. So we’ll be on the road next year promoting that. And then soon after that, I will be back in the studio with my band making another record with my band.
KS: Oh my gosh..you are a really busy person! I really appreciate you agreeing to speak with us. I try to give my readers an insight into those I interview that is outside the realm of music and more on a personal level. If you don’t mind playing along I have a quick speed round of questions I ask…you don’t have to…but we would love it if you could.
KWS: We’ll see.
Social Speed Round
KS: Your on tour and have a day off to do anything in the area you are in ..do you ? 1. Catch up on sleep 2. Hit the road and sightsee 3. Or this..
KWS: For me on my day off I exercise then we try to find some place local to eat that has that “you only can find in that town atmosphere”. We like to find something unique that you only can experience in that area we are visiting.
KS: You have a chance to be on a reality tv show..you choose this show to show off your…
KWS: If I was on any reality tv show it would have to do with cars because I’m a huge car nut..so it would have to be something to do with cars.
KS: Go to food on the road?
KWS: Tripple expresso
KS: Go to food at home?
KWS: I actually just started using my vegetable juicer and I started buying all these organic vegetables and like throwing them in this juicer. I have a hard time eating vegetables. But I have a very easy time drinking them. I’ve realling got into juicing since going back home. The first thing I do is bust out the juicer and make my own vegetable juice. That way I don’t have to eat them.
KS: Dogs/cats/or snakes?
KWS: Dogs! I have a mix…half beagle and half terrier so he looks like a baby golden lab..He’s like 7 years old and full grown..but he looks like a puppy.
KS: A few names currently on your playlist?
KWS: Nothing too exciting.. the same stuff you know…like Muddy Waters and Jimmy Hendrics . There is a young rock band though that I’ve been listening to the other day on my phone called Rival Sons. They’re pretty good, straight head young rock band.
KS: Thank you so much for taking the time to speak with us. We are stoked for your performance tomorrow night, and look forward to bringing our readers the highlights.
Kenny Wayne Shepherd – Turning Stone
As I reflected upon our interview and sat there watching Kenny, Noah Hunt, Chris Layton, Tony Franklin, and Riley Osborne, I couldn’t help counting my blessings to be experiencing this moment. A lover of all types of music, there is something about Kenny and his band and their music that touches your soul. It reaches inside you and you truly experience the music. As he played covers of some of his favorite songs such as House is Rockin’ by Stevie Ray Vaugh and his BB Medley, as well as original favorites such as Deja Voodoo and Blue on Black the combination of Noah’s sultry sexy voice and Kenny’s ability to shred like no other, draws you in and definitely puts you under a spell. I definitely was transfixed.
Kenny Wayne Shepherd – Turning Stone
KWS Set List: Never Looking Back > Somehow > Everything is Broken > House is Rockin’ > Search and Destroy > Heat o the Sun > Talk To Me Baby > Can’t Judge A Book > Breaking Up Somebody’s Home > Looking Back > BB Medley > Shotgun > Encore – Blue On Black > King Bee > Oh Well > Voodoo
Music lovers from all walks of life packed Woodstock’s Bearsville Theater on Saturday, October 4 for the inaugural Woodstock Jazz Festival. The evening began with a highly entertaining piano set from GRAMMY nominee Uri Caine, which featured two sets including John Medeski on the organ; and concluded with an inspired cover of Bob Marley’s “No Woman No Cry” sang by Jack DeJohnette. The music rolled along for more than four hours and the man who dreamed up the festival, drummer Ben Perowsky, dedicated the festival to local legend Sonny Rollins.
Uri Caine
Uri Caine went on stage at 7:30PM and folks rushed to take their seats or claim standing room. Even the separate bar area was overflowing and, despite a chilly night outside, the cavernous, barn-like theater was warm with bodies packed tight. There were multiple drum sets, an organ and various other instruments on stage but the attention was focused on Caine seated behind a black baby grand piano. Caine’s vaunted resume includes a stint as the LA Chamber Orchestra composer in residence, more than two dozen recorded albums, and the aforementioned GRAMMY nomination for “The Othello Syndrome”; His modernization of Verdi’s Otello. While Caine paid homage to the classics Saturday night, a playful side twinkled through during his Bearsville set. Looking cool and tranquil behind the piano, it sounded like his left hand produced a number for a king’s chamber while the right played something more fitting for a Mississippi riverboat. His unique style had the audience tapping along on their legs or nodding emphatically. Caine’s enthusiasm was evident when he spoke between songs. He played until 8:30PM sharp and drew a huge standing ovation from the crowd.
After a short break, RedCred had their chance to show off. Consisting of tenor saxophonist/clarinetist Chris Speed, drummer Ben Perowsky, and organs/keys player John Medeski, the trio only took one brief break in the middle of a continuous hour-long set. At moments, the three played harmoniously with each other. Then, they would unceremoniously diverge down their own paths. Medeski oozed out thick, eerie notes while Perowsky utilized every surface of his kit— clicking on the snare rim, clinking a cymbal’s edge and blasting out rudiments on the high hat—and Speed belted out sensual sax licks. Just before they lost you in a dense jazzy jungle, they made eye contact and pulled it all back together seamlessly.
Perowsky on the drums with Medeski (L) and Speed (R) in background.Chris Speed
Perowsky, a NYC native whose talent and exuberance rivaled each other onstage, deserves all the acclaim he received for being the event organizer. Medeski, whose genius is instantly evident in his thoughtful eyes, wowed everyone with his organ-izing. The set concluded with a Weather Report favorite, “Face On The Barroom Floor” which allowed Speed to showcase his ability and versatility, beginning with a clarinet solo and concluding on the tenor saxophone.
Everyone was eager for the last act. Each seat was claimed and extras were brought in; those standing shuffled on tip-toes for a better look at the stage as Jack DeJohnette, John Scofield, and Larry Grenadier joined John Medeski. Inspired by the musicians’ lofty presences, a ubiquitous awe fell over the room before an impromptu shush-off lightened the mood—someone in the crowd “shhh’ed” the audience, then another “shh” followed and another, until it sounded more like a bunch of leaky inflatables filled the theater than jazz aficionados.
After a good laugh, DeJohnette, who has played with the likes of Miles Davis, Pat Metheny, Herbie Hancock and many others, led the show from behind his drum set as the group covered music made famous by Davis, John Coltrane, and Frank Sinatra. DeJohnette conveys emotion through the drums as well as anyone and does not lack in speed or creativity. He played complex fills and kept obscure time while playing “Inspired By Tony Williams”. He teased the crowd, slowly building up the solo before finally letting loose to everyone’s delight.
Throughout the set, Medeski mouthed each note as he alternated banging on his backless organ and the baby grand while his foot, dancing along frantically, seemed in danger of flying off its leg. Scofield, meanwhile, rocked his guitar into acquiescence, drawing emotional lines from it. During “I Fall In Love Too Easily” he decided it was shredding time. The band followed Scofield’s lead as he kicked in the wah pedal and belted out slick runs, launching them into the heaviest jam of the night.
Bassist Larry Grenadier attacked his upright, plucking its strings fervently and deftly. With DeJohnette backing him on the drums, Grenadier busted out a mind-boggling solo in the middle of “Promise.” The only time his hand strayed from bass strings was to push his glasses back onto his nose, but even that action seemed part of his time-keeping. Medeski and Scofield smiled on admiringly before joining back in to fill the theater with a full, rich sound. The whole set was electric and reached a climax when they concluded with DeJohnette singing “No Woman No Cry”. While the majority of the night was dedicated to instrumentals, the audience was ecstatic to hear the Bob Marley cover and nearly everyone sang along.
The inaugural Woodstock Jazz Festival proved to be a huge success. Woodstock’s Bearsville Theater provided a comfortable and intimate setting and the musicians did the rest, playing late into Saturday night. The event was run smoothly and one can imagine the night’s honoree, Sonny Rollins, would be proud to know so many people enjoyed an evening of jazz together in his honor.
